Midlands Review - Rachel
Rachel
Directed by David L Knight
2019
“This won’t bring her back”.
Rachel is a new film from Midlands filmmaker David L Knight and throws us straight in to a world of drugs, violence and former wrongdoings.
Opening with a dishevelled man in a hoodie playing with a lighter, the voice of a female tells him that his pain must be “unbearable”, before we are shown her standing nearby in an angelic white dress.
However, the junkie quickly turns his aching addiction into an abduction as he drags a well-dressed woman off the street and into the alley. But here, we are shocked as a hard cut to black then takes us to a warehouse with the man now tied to chair in a brutal opening twist.
With tape over his mouth gagging his cries for help, the ghostly woman reappears laughing before two strangers arrive. “Rachel” builds up its world quickly and efficiently and with just a few lines of dialogue the short sets up a number of intriguing mysteries that help push the narrative along.
Owing to the setting and situation, the filmmaker also delivers a locally-infused Reservoir Dogs aesthetic with the tied victim attempting to speak, but also suspecting the worst. He’s definitely stuck in the middle with them!
“There’ll be plenty of time for noise later”, says one of the captors as they toy with their victim and the short builds up some good tension as we are thrown into this dark standoff.
As per the three-act structure, at about two-thirds of the way in the film finally reveals that one of the tormentors has lost his daughter and is seeking some rough justice. But although our victim claims to have no knowledge of the man’s 17 year-old, a photo thrust under his nose proves otherwise.
The presence of a person as a metaphor for a haunted past is a little over-used in films but Knight uses the apparition sparingly enough, especially as she is often glimpsed over the captor’s shoulder – haunting both the dad and his bloodied victim.
As we draw to the film’s conclusion, the verbal torture ends and physical torture begins in a brief flash of violence straight out of Taken. Rachel slowly builds a sense of concern AND revulsion for both of the main characters as we are shown the two sides of a moral quandary.
However, as the mysteries unravel so do the captors and the short ends on a cliffhanger of horror. A cautionary and mostly successful tale of drug abuse and revenge, and despite a cliché here or there, Rachel ends up a satisfyingly tense 9 minutes of drama where past mistakes haunt the present.
Michael Sales
